Original subtitles

H O DGES: Previously onMr. Mercedes...

MECHANIC: The case is closed, and according to probate, you're the bequeathed.

HODGES: What do you plan to do with it?

HOLLY: I plan to drive it. You what?

B r a dy was the evil one, not the car.

It was a murder weapon! In a mass killing!

J E R OME: This is local coverage of the jobs fair.

M o r ris Bellamy. I remember him now. I met him in court.

" S enior Thanks: to 'IS for saving my life."

HODGES: Do you remember him? IDA: Oh, yeah.

He was trouble d. I gave him a book

that I thought h e... What?

I gave him The Runner.

What I want to hear is when I get my manuscripts back.

P e ter, we are in over our heads!

PETER: [OVER PHONE] I can work this out, Dad.

I can get her back.

They got her. They said they wanted

to make an exchange... Marjorie for the books.

Y ou talked to Peter?

He's formulating a plan right now.

J esus.

Your life is in grave danger

should your son not come through.

What's i n the shed? A private chapel

w h ere I pray and hold bible classes.

Anything? And that fuckin' shed.

C o me back later tonight when she's asleep.

[ENGINE TURNS] O kay.

MORRIS: What the fuck?

O h, my fucking God.

[DARK MUSIC]

♪ ♪

[MORRIS BREATHING HEAVILY]

This isn't fuckin' fair.

God can go fuck himself.

T h at's what he can do. [PANTING]

I f only there was a God... Which there isn't!

N o G od damn God would do this to me... I loved her.

I loved Alma. You hear me?

O h , yeah, oh, I hated her some,

b ut I loved her too.

[ S O BBING] Oh, God, I loved her more than I hated her.

I loved her more than...

Anybody.

E x cept Danielle, and then you killed her!

[ G R OANING] You killed the person I loved more than anybody.

O ther than maybe myself.

And then you tried to kill me too.

A n d now I don't have anybody.

Y o u fuck! You stupid fuck.

You stupid dead fuck!

[GROANING, PANTING]

I w ould have lived a normal life!

I w ould have been a good husband

and a good father and a good...everything

i f that asshole with the fucking Mercedes hadn't...

[ SOBS]

He did this to me.

He did this to me. [BREATHING HEAVILY]

C o uldn't hold down a job or relationships.

T h e only thing that I could hold on to

w a s Jimmy Gold and maybe her.

[ PANTING]

C o me on... Come on! [GRUNTS]

A n d when I went to Rothstein's house,

yes, I went to steal money,

but mainly I went for those books.

[ THUD] 'Cause I knew he kept writing!

He would never turn Jimmy Gold into a piece of shit

and then just leave him in advertising...

[ WHIMPERING] Like a total piece of

shitfuck trash!

I went for those books!

I had them.

Only now I don't.

Because your...

Rat fuck little piece of shit

cunt-ass kid stole them,

a n d if he doesn't give 'em back,

I ' ll cut your fuckin' head off.

[WHIMPERS, PANTS]

[SIGHS] I loved her.

[SOBS]

O h...

A n d then you tried to kill me, you fuck.

You fuck.

[SOBBING]

I...wan t...my...

...fucking.. .books!

F uck!

♪ I was thinking of a series of dreams

♪ W here nothing comes up to the top

♪ E verything stays down where it's wounded

♪ A nd comes to a permanent stop

♪ W asn't thinking of anything specific

♪ J ust thinking of a series of dreams

♪ J ust thinking of a series of dreams ♪

[NEIL YOUNG'S DOWN BY THE RIVERPLAYING]

♪ ♪

You think we should be doing this?

I mean, this is straight-up burglary.

Y o u're not gonna be doing anything.

Y o u're just here to keep watch.

[SIGHS]

W h at if Alma's there when we show up?

L e t's hope she isn't, but if she is, fuck it.

W h ich should be interesting,

' c ause Alma Lane doesn't rattle easy.

[PATTING DIVIDER]

L i ttle bit of shock and awe to put her on tilt.

M a ybe I shake some truth out of her.

I t 's time to start scarin' people.

A n d you really think she's in on this.

I know it.

G o t the stink all over her.

F u ckin' smug, fuckin' coy.

Fuckin' Morris Bellamy.

L e t's see how cock-smug she is now.

♪ B e on my side, I'll be on your side

Place looks dark.

M a ybe she's gone to bed. Even better.

W ait here. Okay.

G i v e me a buzz on this if you see anything worth seeing.

♪ All alone

♪ W hen you could be taking me

♪ For the ride

♪ Ooh, ooh, yeah, yeah

♪ S he could drag me over the rainbow

♪ And send me away, yeah

♪ Down by the river

♪ I shot my baby

♪ Down by the river

♪ Dead

♪ Dead, ooh

♪ Ooh, shot her dead

♪ Shot her dead ♪

♪ ♪

[MUSIC FADES]

[DOGS BARKING DISTANTLY]

[METAL RATTLES]

[CLICK]

[PHONE BUZZES]

[WHISPERS] Shit.

A llie?

Dad, everything's okay. I'm fine.

Yeah, well, how come you sound like you just been cryin', then?

Oh, you know, life.

Where are ya?

H ere.Here? Bridgton?

A t the house? Now?

[CLICK]

I'm on my way. [ BEEP]

[METAL RATTLING]

[FOOTSTEPS RECEDE]

[CAR DOOR OPENS, CLOSES]

[ WHISPERS] Lucky bastard. [CAR ENGINE TURNS]

I w as hoping I'd have to waste him.

[CAR DRIVES OFF] C ome on.

Allie?

Allie?

[JONI MITCHELL'S CIRCLE GAMEPLAYING]

♪ ♪

♪ Fearful

♪ W hen the sky was full of thunder

♪ And tearful at the falling

♪ Of a star

♪ A nd the seasons, they go round and round

♪ And the painted ponies

♪ Go up and down

♪ W e're captive on the carousel of time

♪ W e can't return, we can only look... ♪

I warned you we'd never get those off the ceiling.

D id you try?

N o.

N othing's wrong.

I just...

N e eded to get away, so...

H ere I am.

Does your mother know you're here?

S h e does now. I just called her.

S h e wants you to call her.

And... And tell her exactly what?

Y ou could tell her

t h at I wanted to see my dad.

S urprise.

W elcome home.

I t's just for a week.

E ven so.

O kay.

A l l right, okay. [CHUCKLES]

I ' m done crying, okay, so don't you start.

No crying.

[ SNIFFLES]

I'm not gonna cry.

[ SMALL LAUGH]

Tick, tick, tick.

That's what I am. [WHIMPERING]

A ticking fucking... [GRUNTS]

Bo mb!

[ GASPING]

We are calling your rat-fuck cunt-ass son.

And we'll let him know...

Tick, tick, fucking tick!

I' m gonna let you speak to him.

You are to enunciate clearly, unequivocally.

Most important, you need to stay on point with your messaging.

Which is... [SOFTLY] Tick, tick, tick,

tick, tick, tick, fucking tick!

S o Allie wants to come home.

I can understand that. Yeah.

Is Donna mad? No, no.

I t 's just... She's worried.

B ut she's okay now.

A l l ie wasn't sleeping, she seemed a bit depressed.

R ight. Maybe it's a good thing

she came here. Y eah.

M a ybe it's a great thing. Yeah, maybe.

S h e looks good, you know, physically, but...

S omething's wrong.

[DOOR OPENS]

H ey. HOLLY: Hey.

All right, I'm actually doing this.

Y ay! [LOU CHUCKLES]

D o i n' what? HOLLY: Oh. Lou has a job interview.

Isn't that great? JEROME: Definitely.

I m e an, you can't put down your roots without a job, Lou, so...

Well, I'm actually just, uh, meeting somebody

from the unemployment office, and then I'm hoping that

that'll lead to some job interviews.

S o , uh... No more workin' here?

D e sk jobs aren't really my thing.

W e ll, what is your thing?

I 'm not sure.

W hat do you like to do?

I d on't know... My caseworker's saying

t h at I should find something autonomous and flexible.

I ' m hoping she doesn't mean hooker.

HODGES: Uh, Lou.

I f you want to continue workin' here,

I m ean, really, I-I'm good with that.

I t 's just it's... It's...

T hank you.

U h...

I , uh...

M y shrink is actually recommending

t h at I take a little space.

Y-you all have been so good to me,

b u t you're also sort of the nexus of...

Y ou-know-who.

I m ean, you're driving his car.

Right, to take the power away, but...

LOU: Totally. Totally get that.

T here's just, um...

M e mories that reside here that...

I h ave to get away from.

S ure.

O k ay! [GIGGLES AWKWARDLY]

Y e ah, I'm off. Okay.

HOLLY: Good luck! Thank you.

Good luck. T hanks.

Se e?

[DOOR CLOSES] It's progress.

M a ybe. Something's not right.

Oh, God, could you please...

I ' m tellin' ya, she's off.

A n d I told ya about that fuckin' car.

R ight.

P a ck it up. Let's go.

You listen here. This is pretty fucking simple.

You return my mother...

D o not tell me anything is simple.

N o thing turns out to be simple.

T h ings we think are simple turn to shit!

A n d while Jimmy Gold said "shit don't mean shit,"

s ometimes it does.

S o metimes it means deep fucking shit like this.

Y o ur mother is in deep fucking shit!

L o ok at me! Do I look well?

D o I look like a calm and composed human being?

N o , I do not! I'm about to fucking lose it!

W h ich will not be good for your in-deep-shit mother.

W o uld you tell him, Marjorie, please?

P e ter, give... Give him the books.

M O RRIS: How are we feeling today, Pete?

I s t his a nice lollygagging type of day?

O k ay, okay... Not okay!

I ' m tired of hearing that things are okay.

T h i ngs are fucked, and things are gonna stay fucked

u ntil I have those books,

a n d as long as things stay fucked,

your mother's life is... I'll move the books

t o a secure location, then we can make the swap.

[ BREATHING HEAVILY]

Y o u're trying to buy time. That's not gonna work.

I ' m not fucking buying time.

That's a dead person. Guess who killed her.

T h at's going to be your mother!

You need to do what I say!

Okay!

Y o u have one hour... One hour,

a n d then I blow her fuckin' head off.

I ' ll call you back with the location.

Y o u better, Pete! I'm ticking here. I'm fucking ticking!

[ BEEP]

[BREATHING HEAVILY]

M a ybe we should go back to Morris' place.

N ah.

Police'll be all over it. Oh.

H e 's not gonna show up there.

B e st bet is the kid's father, you know?

I f Peter's still talking to h im... Holy shit!

H oly...

Ho ho!

You're kiddin' me. Oh...

W hat does she think,

s h e can just throw a fresh coat of paint on it?

I mean... It looks pretty good.

I t 's a fuckin' death machine.

L i s ten, as far as the people who are scared and afraid go...

H o lly is most definitely fearless.

W h y would she want it, like, truly?

D o es it make any sense to you?

I t hink you should drive the car.

I mean, not now, but...

W h y the fuck would I want to drive it?

Well, because it's still got a hold on you.

I m ean, it took you over from...

The obsessi on to the drinking to the retirement

t h at maybe came earlier than it should have.

I m ean, you see it in your nightmares.

You told me yourself.

Y o u said you see the car driving straight to you.

That's your demons right there.

Maybe it's time you...

Took control of them.

I mean, it'll make you better off, you know?

It'll make you a better you, Bill.

It'll make you a better father.

W hat?

You know, seeing as that you might have a second chance,

with Allie being home and all.

I say you should drive the car.

That's just my opinion.

Who died and left you Dr. Phil?

L o ok, Lou might be crazy, but...

S h e was right to say that Brady indirectly gave us...

F amily.

I m ean, it brought us Holly.

A n d Holly's our leader, you know, our guardian angel.

W e have to admit that.

[CAR DOOR DINGING]

Hey.

W a it, is this what I think it is?

B e cause if it is, this is fucked up.

Yeah. Opinion seems to vary on the issue.

Listen... I'll be in the car.

I could've told you on the phone.

N o , when it comes to the Rothstein case, I'm eager.

W hat do you got?

A l ma Lane... She lives way the hell out of town.

I drew ya a map.

You need to get a search warrant for her trailer and the shed behind it.

B ased on what exactly?

Connections, circumstantial evidence, intuition, whatever.

Li st en , her and Rothstein had an affair.

He ended it... Badly.

And hell hath no fury like Alma Lane scorned.

We got the letters that she sent him... Hate mail.

It's really, really nasty, disturbing shit, okay?

On top of that, she and this Morris Bellamy guy

that I told you about...

Turns out they've been fuckin' for years.

A l ma Lane gets around, huh?

Yeah. Both she and Morris,

completely obsessed with Rothstein.

A n d? What else you got?

I just gave you a ton. Come on, I was out there!

I t a lked to her, right? The place stinks to high heav...

Y o u definitely gave me some shit,

a n d I'm gonna look into this whole Alma Lane,

M o rris fucking Bellamy thing, but...

Y ou got anything solid?

I - I can't... I can't get a warrant with this.

You can f uckin' try! What's the point?

N o judge is gonna issue me a warrant

b a s ed on your fucking trailer park treasure map that you drew here...

Give me a fuckin' break, will ya?

L o ok, the law means facts, okay?

J e sus. We need to show some sort

o f r easonable suspicion that a specific trailer and a specific shed

at a specific location... Yeah, yeah, yeah.

Is associated with... For Christ's sake,

will you just do your fuckin' job, will ya?

Just draft the paperwork, get the process goin'.

I'll get ya something more solid

by the time you're ready to file it, all right?

Okay. You got to t rust me on this.

I know what I 'm talkin' about. Okay.

B u t if we don't get more, we're fucked.

Fuckin' asshole.

[ C AR BELL DINGING, ENGINE TURNING OVER]

I haven't talked to him since last night.

I think he's, uh... He's afraid to call.

W hy?

[SIGHS] Well, he knows I've been in contact with you.

Uh... He knows I wanted to bring the police in.

H e just... [SIGHS]

I think he thinks it's gonna make it worse.

Ho w would it make it worse?

Peter doesn't trust the police

or the government, really, for that matter.

And why should he, though, huh?

The government hasn't really had our backs in a long time,

especially not in this town.

Plus, the...

G o on.

I've been reading Rothstein's stuff lately.

Peter's got a couple copies up in the bedroom.

It's not exactly a ringing endorsement of the establishment.

So I think Peter is doing his own Jimmy Gold thing.

Trying to save the day.

Trying to save his mom.

Y e ah, 16-year-old thinking, right?

Y e ah. Right.

Y eah.

I don't know what to tell you, Bill.

A l l right. Well, here's what I'm gonna tell you.

W e 're notifying the police,

a n d we're keeping them fully in the loop goin' any further.

No, no! You can't fucking do that!

I can, and I am.

A l so, I want you to give me your phone.

W hat?

W hy?

B e cause your brain is fucking mush, Tom.

I c an see that just by lookin' at ya, okay?

N o w, this Morris guy calls, let me talk to the bastard.

No, no, that's... That's too fucking dangerous, Bill.

N o. We're past the point

o f d angerous, Tom, and we're runnin' out of options.

N o w, if Peter doesn't trust the police, okay.

B u t you need to trust me.

G i ve me your phone... Now.

W-what if Peter calls?

I t 'll give me a chance to speak to him.

[SIGHS]

L o ok, you're worthless from a thinking standpoint, Tom.

R eally.

G ive me the phone.

You're a father, right, Bill?

Y eah.

I need your word.

No cops.

Father to father, Bill.

F ather to father.

T hank you.

H o w are you at tracking phones?

I t can be done.

C a n you do it without the police?

I m ean, apart from everything else,

t h ey'll waste precious time goin' for a warrant.

Y e ah. No police. I just got to hook it up.

A n d I can get it to you right after.

A ll right, okay.

G r eat. That gets us off the hook, then.

But what about Montez?

You gonna tell Montez? I don't know.

T r icky. Play it by ear.

Y o u're giving me that back, right?

Y eah.

[KNOCK ON DOOR]

U m... Come in.

A llie?

H e y. Hi!

Hi, I'm Holly Gibney.

Y eah, yes, I've, um...

I ' ve heard some about you.

I've heard a ton about you.

U m, did my dad

d i spatch you to come check on me?

He might have, but, you know,

I've wanted to meet you for a long time now.

So you lived here, huh?

Yeah, I did. [CHUCKLES]

This room was kind of my home for a while.

I used to stare up at the stars on the ceiling.

Helped me sleep.

U m, you...

Y o u moved some things around?

O h...

A nd you took stuff?

[STAMMERS] Well, just one thing.

I can give it back if you want.

I mean, it has kind of a creepy stigma attached to it now.

Yeah, well, it's, um, it's good luck.

It's very good luck. [CHUCKLES]

So ... [SIGHS]

Why did you live here?

It's kind of a long story, but the short story is...

Your father saved me...

You know, in so many ways...

Fr om my mom, from myself.

I mean...

He might be the most wonderful man I've ever met.

W ow.

T hat's, um...

W hat a guy.

I understand that he wasn't around much when you were younger.

I mean, it haunts him.

H a s he said that to you?

B ecause he hasn't...

S aid it to me.

Well, you know, he's... not the best communicator,

but, you know, he always gets the message across.

And the message I have always gotten from him is...

You're the single most important thing in his life.

I ...

Your dad's a work in progress, you know.

Just like the rest of us. [CHUCKLES AWKWARDLY]

Y eah...

It's nice to meet you.

Y e s, yeah. Nice to meet you.

See you soon. Bye.

L O U: I know the floor plan, the layout.

I w as pretty much the floor manager here before, so...

I d on't question your skill set,

but... My mental health is good.

U m...

I have to ask.

W h y would you want to return here?

Well, um, first,

uh, there's not a lot of jobs out there,

and I am particularly suited to this one,

because, well, I've done it.

And I have done it very well.

U m , look, I'm... I'm gonna be honest.

T h is place has enough trouble as it is

d i tching the ghost of Brady Hartsfield

w i thout hiring his former best friend

a nd... [STAMMERS]

K iller?

It's okay, you can say it.

Former best friend and killer.

Current killer.

He, uh, he's currently killed, so I'm currently the...

The current killer.

Presently current killer.

M iss Linklatter... Can I ask you...

U m , do people ever come in here and sort of, you know,

l o ok around to see where the...

Brady Hartsfield Mercedes killer worked?

T hey... They do.

D o those people buy stuff?

T hey do. Okay.

N o w, think about if I was here

h o w many people would be coming in here, right?

Huh? You could make a booth for me up there.

[ LAUGHING]

I 'm a freak show.

P eople love a freak show.

MORRIS: What jazz club?

I t ' s right on East Benton Way, just past the pharmacy.

T h at's too fucking public. Are you crazy?

I t 's an empty street. There's no one around.

T he books are there?

T h e books will be there, but you won't get them

unless you bring my mother.

I m ake the rules, you shitfuck.

W e ll, I'm making this one, okay?

Y o u bring my mother, you get the books. That's the fucking deal.

[ BREATHING HEAVILY]

I 'll be there in an hour.

A n d don't be shooting at me again, you dickfuck.

[ PHONE BEEPS]

[ SIGHS]

Y o u better hope he's doing this on the up-and-up.

Oh, you better fuckin' hope.

[EXHALES DEEPLY]

TONY: [OVER PHONE] Got anything new for the warrant?

Nah, give me a chance, will ya? I'm workin' on it.

I ' m sorry, I'm a little eager.

D esperate, actually.

T h ere's a lot of media on this, lots of pressure.

Y e ah, well, that goes without saying.

N e ver stopped ya from sayin' it.

L o ok, we did a little digging.

T h is may or may not be anything.

M o rris Bellamy was living with a Danielle Moore

T h at's whose belongings we found in his apartment.

N o w, no one's heard from her in a couple of weeks.

A c cording to her parents, she and Morris broke up.

T h e y heard that from her sister, 'cause she doesn't talk to them.

A n yway, no one knows where the fuck she is.

O k ay, that's interesting. Thanks.

K eep me informed.

[METALLIC CLANG]

[DOGS BARKING DISTANTLY]

You ready for a road trip? We have an outing.

Could be a fun outing.

I t could be your last outing.

P lease... Shh, shh.

S hh, shh.

Tell me you appreciate the severity of this situation.

[ CRYING] I'm begging you... Tell me...

I understand.

[ SOBS]

[DOOR OPENS, CLOSES]

Ida been here yet?

N o.

Y o u were three years old when we got him.

I remember.

I wanted a dog

o r a pet rock.

A n d I think you split the difference.

[LAUGHS]

Seemed like a good choice.

I m e an, he's not in too much danger of runnin' away.

[ LAUGHS] And let's face it.

He 's gonna outlive us all.

G od, Dad.

You're so morbid.

W hat?

Y ou are. You...

Y o u bring up death a lot.

Y ou do. I said he's gonna live!

W ell...

Well, apparently it's an Irish thing,

so it's part of your heritage.

You're welcome.

Do yo u mind telling me why...

I mean, I'm... I'm...

I'm not complaining, believe me.

But all of a sudden, kind of out of the blue...

Did ya fall off the wagon?

N o.

R eally. I'm really doing fine.

I am.

O oh. [GROANS]

I t ' s just that some things have come up...

R ecently.

Th ings?

I ' m just a little scared.

I k e ep having these nightmares about you being in danger.

Y ou're, like...

B u r ning in a fire in hell or something, and I'm...

I t h ink I just had to come here to make sure that...

T h a t I'm not the one that's putting you through hell.

D oes that make sense?

I ' m having the same nightmare, it's like...

O n ly with Rothstein in it... John Rothstein the writer.

A n d this, uh, and this burning man.

W h at? Yeah.

R e ally? Yeah!

I ' d say that's a pretty big coincidence.

Yeah.

Y o u don't believe in coincidences, do you?

Oh, I might reconsider.

You said "things."

What other things?

J ust...things.

[ CHUCKLES] Life.

C ome on.

I 'm pregnant.

D ad.

[ MURMURS]

R eally?

Y e ah. Wow.

[BOTH LAUGH]

Y eah.

W ow!

Well, hey. Allie.

Hey, Ms. Silver.

I 'm on vacation.

I d a , could you... Would you mind poppin' into the den for a little bit?

I j u st want to... I need to ask you some stuff.

Y e ah. No, absolutely.

Y o u can make a cup of tea or whatever.

I ' ll be just a few minutes.

W ow.

Y ou can go.

[ S TAMMERS] She'll be all right.

I t 's fine. You can go.

I'm gonna be fine. I... I just...

I ' ll just be a few minutes.

Y eah?

Yes. Okay.

[BOTH CHUCKLING]

You're not to exert yourself.

Now, I don't want you swingin' too high.

G o t it. [CHUCKLES]

Wh oo!

W e 're gonna have to put you out

f o r this little trip, princess.

[WHIMPERING] Oh, no, it won't be too bad.

R e ally, it's just a catnap.

[ L AUGHS] Little Petey boy

b e tter have more common sense than he's let on so far.

T h i s is not going to end well if he pulls anything.

[MOANS]

I t 's not going to end well for him.

[ L AUGHING] Oh, and, Marjorie,

i t is not going to end well for you.

Y ou know what?

I ' m gonna call your gimpy-ass husband

a n d tell him to make sure that his son doesn't pull any bullshit.

S o , apparently, she hasn't been seen in quite a while.

Y o u knew her, right? Danielle Moore?

Oh, yeah, I remember her very well.

V e ry popular in school. [PHONE RINGS]

I t's Morris.

Morris, Bill Hodges. What the...

We met at the court.What the fuck?

Easy does it. I will fucking kill her!

Y e ah, and then what, Morris? What's the endgame?

T h at's it, I'm done, I swear...

Just listen to me now for 30 seconds...

N o ! She's fucking dead. I'm done!

Oh, would you just hear me the fuck out?

You've nothing to lose.

Y o u do have an out, all right?

T h ere are mitigating circumstances.

W e know you've been sexually abused

s i nce you're a teenager, from what I understand.

You were at the jobs massacre.

W e know Rothstein shot first.

I t is way too late for any of this.

T h at's what I'm saying...Shut the fuck up!

A l l I care about now is those books. You got that?

Y e ah, well, just listen...

I'm not listening to you! Okay, all right, okay.

M a y be you just might listen to somebody else, then.

O ne second.

Hello, Morris.

It's I da Silver.Mrs. Silver?

O h , goodness, Morris, what's going on with you?

What the fuck is this, This Is Your Life?

IDA: Oh, my goodness.

I remember so well how we used to talk, you and I.

[SOBS, BREATHES HEAVILY]

You gave me Jimmy Gold.

I know that.

And what you're doing now... This isn't gonna work.

This isn't gonna fucking work.

I'm speaking to you only as someone

who cared about you, Morris.

And I still do.

A terrible teacher who aged like shit!

M o rris, listen to me. I get it, okay?

Y o u and me... We've got a double connect going.

N u m ber one, we were fucked over, both of us, by Mr. Mercedes.

N u m ber two, we were also fucked over at an early age by Rothstein.

Y o u started reading him the same time as me, right?

W h at, 14, 15, sometime around there?

T h at helped a lot, didn't it, legitimizing our rage?

T h a t hasn't exactly fuckin' worked out the best for either of us, has it?

Y o u thanked me for my service at the courtroom.

Y ou know my story.

I f ucked up so often, it's not true.

S o I get it!

B ut it's not over.

J i mmy's story isn't over. You know that, I know that.

T here's more.

S o let's go find it.

O k ay? Let's find it.

I t 's the only way we have to figure this shit out.

[ W HISPERING] You know what?

I think you might be right.

On the other hand, nice fuckin' try.

[BEEPING]

Oh, God, I'm so sorry.

N o . This is not good.

[GRUNTING]

O kay.

T h is is how tight I'm wound.

F u ck! I'm killin' dead people now.

[DARK MUSIC]

O kay, princess.

T h a t is all the fuckin' patience that I have.

[ GRUNTS LOUDLY]

[ WHIMPERING]

B reathe, breathe.

B reathe, breathe.

Breathe.

[ B L OWING] It's trap-and-trace software

u s ing the IMEI on Marjorie's cell phone.

I g o t her number and the rest of her info via Tom's mobile.

W hat, wait, the what?

It's the International Mobile Equipment Identification number.

I f he's carrying Marjorie's cell phone, which he is,

w e should be able to trace it.

Y o u see this? Yeah, it's a lot of numbers.

[ C HUCKLES] Yeah. That's the IMEI number.

It's printed on everybody's cell phone battery.

It 's ki nd of like the VIN number on a car engine.

We're gonna take this code,

a n d we're gonna sync it to Tom's IPS.

A n y incoming call from Marjorie's cell phone,

w e s hould be able to triangulate it from a tower cell ping.

I'm gonna start to look.

LOU: Hey. H ey.

I got a job. Wow, already?

Where? Catering.

W ell... My ex and I, we always

t a lked about doing this, starting a catering business.

Wow, that's great. Ri ght?

Food is the only thing that I had with my mom...

Baking shit.

Can you believe it?

Catering trucks are the new thing!

I g ot a job! Oh, that's fantastic.

G o d, I don't have to be a hooker!

W h oa, whoa, whoa, whoa, whoa, whoa.

What? I think I got something.

J u st before I call Peter, right,

t h e re was nowhere, anywhere like friends' houses

p l aces that he went, anything like that?

Not that I remember. Anyway, his free time

was taken up by working for his father,

you know, at the real estate company.

He checks out new listings, he clears out buildings, stuff like that.

He complained about it.

R i ght. And the last time you spoke to him was when?

Not a peep from him since I turned him over to Finkelstein.

A l l right, keep me posted, then, will ya?

W e ll, of course I will keep you posted.

What about you... You call me to tell me to come over,

and you don't even mention that Allie is here.

Y e ah, well, it was a surprise to me too.

A nd not the only one.

S he's pregnant.

Oh, my goodness. That's wonderful.

Y e ah, yeah, I think it is, yeah.

Well, don't think too hard.

N o, no, it is.

G randpa Hodges.

N o t the title that I'd imagined I'd acquire, but...

I k now this is not your given nature,

but please, please,

enjoy this, Bill.

I am, I am.

I g ot to get back to work, all right?

I'll see you later. Yeah.

[ PHONE RINGS]

[ DOOR CLOSES]

[BEEP] Y eah?

I've got a location. G reat, where?

Outside the county line,

just north of us... It says Rural Road 142.

North or west?Alma lives on Rural Road 142.

Y ou there?Yeah, I'm here.

A l l right, call the police. It'll take me 30 minutes.

T e ll 'em I'll meet them there.

[TENSE MUSIC]

♪ ♪

[PHONE RINGING]

How sure are you on this?

Sure enough... Trust me.

How far a way are you? Too far.

I ' l l meet you there. Listen, be careful, will ya?

I j ust spoke on the horn to Bellamy.

He's fuckin' crazed.

Wait, wait, wait... You spoke to him?

Never mind. Just get there, will ya?

G i ve your posse the heads-up.

Man is off his hinge. [BEEP]

[ BEEP]

[PHONE RINGS]

Dad, I just want you to know whatever happens,

I l ove you.Yeah, listen.

This is Bill Hodges. Don't hang up, all right?

Your dad gave me his phone. W hat?

W e can sort this out, but you're gonna have...

[BEEP]

Fu ck it!

[PHONE RINGS]

[BEEP] What?

They're on the move. W ho?

A l m a, Morris... I don't know who, but I see activity.

Shit. Jesus, all right.

Y e ah, they're headed towards town, definitely moving.

A r e you sure?Yes, they're definitely moving

straight towards town. O kay.

[CAR HORN HONKS]

[TIRES SCREECHING]

A ll right.

Ida said that Pete did work for his father

c l eaning out new listings and stuff.

I w a nt you to call Tom Saubers on his land line,

s e e if he's got any properties where they're headed,

a l l right, then call the police and tell them

they're on the move, got it?

O kay, all right.

[SUSPENSEFUL MUSIC]

♪ ♪

[GUN CLICKING]

[TENSE, SUSPENSEFUL MUSIC]

♪ ♪

[GRUNTS]

[ M O ANS] Yeah, time to move, princess.

W a ke up, here we go. Here we go.

[ GRUNTING]

[PHONE RINGS]

T e ll me. Hey, I talked to Tom.

I got three possibilities and a bingo.

Three ground-level units in rental buildings

and a old jazz center.

It's a bandoned now.Bingo.

O k ay, you just stole my punch line, but...

You're welcome. [BEEP]

[ WHIMPERING]

Fuckin' walk!

D o n't make me shoot you in the head.

[GROANS, WHIMPERS]

[DARK MUSIC]

♪ ♪

MORRIS: Oh-ho-ho-ho.

G o ahead, huh? Shoot your fuckin' mother.

You've done everything you can to get her killed thus far.

Why stop now? L et her go!

[TIRES SCREECHING]

[LAUGHING] Wow!

You still think that we're negotiating.

You really are a stupid fuck.

L e t her go, or I swear to God, I'm gonna shoot you.

O h , and what if it's not a kill shot, huh?

T h en Mommy is dead. You better think it over.

T ime's up!

Where are the fucking manuscripts?

Christ... You know what, Pete?

Just for you...

How 'bout I cut her throat right in front of you instead?

Huh? Huh?

How'd that be?

You know, I bet

t h at you have never bled a pig out.

T h e blood... It shoots out like a God damn fire hose.

She'll be dead before I drop her fat ass on the ground.

Where are my fucking manuscripts?

G o d damn it, Mommy, would you talk some sense into him?

[ C R YING] Peter, do what he says... Peter.

[ M OCKINGLY] "Do what he says, Peter!

"Do what he says!"

[MARJORIE GRUNTS]

[GUN CLATTERS]

R at fuck!

Fuck!

Little rat...

O h! Fuck!

Little rat fucker!

M ORRIS: [COUGHS] Ohh...

You shot my fucking nose off!

G u ess who still has his gun too, you bitch?

O h , put the fuckin' gun down, Marjorie.

P ut it down, you bitch!

I w ill put a fucking bullet right between his eyes!

K i ck me he fucking gun.

G i v e me my fucking manuscripts, or your mother dies.

H o w much more clear can I fucking be?

PETER: Wait, wait, wait!

H e re. Here they are.

No, no, no, no, no! Don't get 'em wet!

PETER: It's not water.

It's lighter fluid. W hat?

MARJORIE: Peter, please...

MORRIS: You put that light out

or I put a bullet right between your eyes!

T h en what, huh? The lighter drops.

T he manuscripts blow up.

Y o u never get to read the best Jimmy Gold novels ever.

B u t I have, and I'll die knowing the whole story.

I've officially had enough.

[GUNSHOT] [MARJORIE SCREAMS]

MORRIS: No!

No!

No! Aah!

N o!

Aah!

A l l right, get her out of here.

G o , go. You got her?

[SCREAMING]

[WOOD CREAKING]

[SIREN WHOOPS]

[BACKGROUND CHATTER]

[BRAKES SCREECH]

M a 'am, if you could just keep that down?

Thank you.

Sir, you got to stay back. M y wife and kid are in there.

Marjorie?

To m.

Dad!

Y o u sure you don't want to

g e t checked out by the paramedics?

M a ybe you were right.

W hich time?

[INDISTINCT RADIO CHATTER]

I m ean, it really looked like he was...

H e w as trying to read the books while he was on fire.

I mean, Jesus.

I k i nd of half get the impulse, but fuck me.

N ot natural.

I t's Rothstein.

I m e an, that's what it does, you know?

A w, come on.

H ey. I was starting to feel bad

about annoying the shit out of you.

You were right about Alma's place.

We found her in the shed on ice.

She got a crowbar through her chest or something.

A h, shit.

I t all leads back to Rothstein, I swear.

I got a little bad news about your reward money.

Seems it's not a dead or alive kind of deal.

Needed the books to be intact.

Y e ah, well, bad news for you too.

Y o u don't get to prosecute the big one... Again.

Ah, fuck you.

[ LAUGHS]

[DOORBELL RINGS]

Hey, hello. H ey.

How are ya? Come in. Are you okay?

Yeah, yeah, I'm good, yeah.

A r e you sure you're not hurt?

No, no, no, I'm fine.

E v erybody keeps asking me. I'm... I'm perfectly fine.

E v erybody's fine. Peter's fine.

T h e mother's fine. The father's fine.

B e llamy's better than fine. He's fuckin' well done.

I heard. [CHUCKLES]

O h , Allie, this is Roland.

R o land, this is Allie. Hi.

Nice to meet you. Ni ce to meet you.

Roland Finkelstein.

So do you want coffee or somethin'?

O h , no, no, we're actually about to go for a drive.

W e just, um, wanted to...

Go for it.

T hank you.

W elcome home.

I think I know what this is.

HODGES: Sweet.

Jesus.

Thank you.

Do you know where that's been?

Ye ah.

It's... It's meaningful. It's a family heirloom.

W e should go, but...

Yeah, yeah, enjoy.

Nice meeting you. See you soon.

Yeah, see you soon. ALLIE: Yes, yeah.

Take care. HOLLY: Okay, bye.

B y e. Look after her.

W ill do.

F I N KELSTEIN: I think you're gonna really like these pancakes.

Y eah? Yeah, you ready?

Y es, I'm ready. You're finally ready?

Y ou sure? I think so.

Okay. Oh, one sec, okay?

Hi, I da. Holly.

I'm on a date. Y eah, I see.

I h ear he's quite the guy.

Y eah?

Bill told me. He did?

O h , you know, ever the romantic, our Kermit.

Yeah.

A l l's well in there, then?

All's well. Have a good day.

Y eah, same to you.

I t 's gonna be an early spring.

I t ' s nice to see that Fred's finally learned to relax.

Now he's pacin' himself.

[ CHUCKLING]

I mean, let's face it. He's gonna see me into me grave.

He'll certainly be a good companion

for your little fella when I'm gone.

Or, if you're lucky, your little daughter.

D ad... [LAUGHING]

What? What?

[ LAUGHS]

[ T EARFULLY] Just don't do that.

D o n't say sad Irish things.

Honey, come on!

O hh!

M y h ormones are not firing right as it is, and I'm...

W e said no crying.

[SOFTLY] Okay.

D o n't you talk about going.

Ah, I'm going nowhere.

Y o u have to at least stick around longer than Fred.

That means I'll have to choke him.

They can go on for 150 years.

[BOTH LAUGHING]

Yeah, I'll do my best.

I 'll do better.

[OVERLAPPING PLAY SHOUTING]

[ICE CREAM TRUCK MUSIC]

♪ ♪

G r eetings, hockey players. What's it gonna be?

Okay, here we go.

♪ B aby, you understand me now

♪ I f sometimes you see that I'm mad

♪ D on't you know no one alive

♪ Can always be an angel?

♪ When everything goes wrong, you see some bad

♪ But I'm just a soul

♪ Whose intentions are good

♪ O h , Lord, please don't let me be misunderstood

♪ Do do do do

♪ You know sometimes, baby

♪ I'm so carefree

♪ With a joy

♪ That's hard to hide

♪ And then sometimes again

♪ I t seems that all I have is worry

♪ A nd then you're bound to see my other side

♪ But I'm just a soul

♪ Whose intentions are good

♪ O h , Lord, please don't let me be misunderstood

♪ If I seem edgy

♪ I want you to know

♪ I never mean to take it out

♪ On you

♪ Life has its problems

♪ A nd I get more than my share

♪ B ut that's one thing I never mean to do

♪ 'Cause I love you

♪ Oh, oh, oh, oh, baby

♪ I'm just human

♪ D on't you know I have hopes like anyone?

♪ S ometimes I find myself alone regretting

♪ Some little foolish thing

♪ S ome simple thing that I've done

♪ 'Cause I'm just a soul

♪ Whose intentions are good

♪ O h , Lord, please don't let me be misunderstood

♪ D on't let me be misunderstood

♪ I try so hard, so please

♪ D on't let me be misunderstood

♪ No, no, no, no ♪